Worksheet 10 - Worksheet ten La Terra Trema language La...

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Worksheet ten La Terra Trema: language La terra trema premiered at the 1948 Venice Film Festival. It was Luchino Visconti’s second film. His first was Ossessione made in 1943 when Visconti was 37. The film was adapted from James Cain’s short novel The Postman Always Rings Twice (1934). Visconti was a Milanese aristocrat with an extensive and refined cosmopolitan culture. Ossessione was considered a film that broke with the stereotypes of the Italian cinema of the 1930’s. It elaborated some of the most vital aspects of Italian culture during fascism: American literature as fostered by Cesare Pavese and Elio Vittorini and the lesson of French cinematic realism, in particular the work of Jean Renoir with whom Visconti worked as an assistant in the 1930s. His experience working with Renoir (on Une partie de campagne and Les Bas-Fonds (both made in 1936), during the period of the French Popular Front and the war in Spain, was an aesthetically and politically rich experience for Visconti. French cinema was in thrall to the avant-garde with its stylistic innovations, radical political commitments and support for the interests of the working class. It was Renoir who introduced Visconti to The Postman Always Rings Twice. Between the end of the 1930’s and the early 1940’s, Visconti came into contact with the Italian film journal, Cinema, edited by Vittorio Mussolini, son of Benito Mussolini. Cinema, paradoxically, became the voice of a new anti-fascist criticism. It published articles by Michelangelo Antonioni, Gianni Puccini, Giuseppe De Santis, Carlo Lizzani, Mario Alicata, Massimo Mida and Antonio Pietrangeli, and by Visconti. Members of the group were to become film directors after the war, or, as with Alicata, a leading member of the Italian Communist Party (PCI). The journal argued in favour of an Italian cinema opening itself to ideas and practices current in Europe, and particularly in French cinema. It emphasised a realism as a counter to the comedies during fascism (‘white-telephone films’): it called for abandoning the studios and going outdoors into the Italian landscape; it pointed to the literature by Giovanni Verga and Italian literary verismo as a model for the renewal of the Italian cinema. Visconti fully shared the group’s passion for Verga. Even before Ossessione, he developed the idea for a film based on Verga’s short stories and novels. Ossessione was as much a Visconti film as it was a film of the Cinema group and it achieved the objectives espoused by the group for the Italian cinema. Ossessione was a film-manifesto. It severed itself from the cinema of the past and opened the way for a new cinema, that of Italian neorealism. In the five years between Ossessione and La terra trema, Visconti actively participated in the struggle for liberation from fascism and the Nazi occupation and for which he was imprisoned. In the immediate post-war period Visconti worked in theatre where he staged plays that apparently had little to do
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This note was uploaded on 09/23/2011 for the course FIL 3363C taught by Professor Samrohdie during the Fall '09 term at University of Central Florida.

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Worksheet 10 - Worksheet ten La Terra Trema language La...

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